And what costume shall the fool girl wear? (Nico in general)

Member Name: mh42

Product:	Nico in general
Date:	21/01/09 (10 review reads)
Rating:

Advantages: Worth the effort, beautiful maudolin gothic folk music

Disadvantages: Voice is a turn off for most - some would say almost atonal

Nico, born Christa Päffgen is a dense and rather ungainly artist who can be quite unaccessible to those not used to her voice/style.

Most recognised for her vocal contributions to The Velvet Undergrounds first album in which she lent her voice and defining interpretations to Lou Reed songs such as "i'll be your mirror", "Femme Fatale" and the majestic "All tommorows parties". Nico had a few recordings prior to this however in the early 60's she worked with Jimmy Page and Andrew Loog Oldman on the rather innoffensive single "I'm not ready" which was released on the Immediate label. This was not a success however and a chance introduction to Andy Warhol in Paris meant that she was destined for new york and the factory scene to become one of Warhol's "Stars".

Drafted into the Velvets despite protestations from the band she added vocals to the first album by the band. This alliance was not to last long however...

After a year she was ejected from the band and began to work towards what would become her first solo album:-

"Chelsea Girls"

Written in coloboration with a number of writers (notably Reed and a young Jackson Browne) this album is unique in Nico's discography due to the nature of the songs and the production. Highlights here are the Dylan penned "I'll keep it with mine", "These Days" (Browne) and two songs left over from the Velvets - "Wrap your troubles in dreams" and the discordant "It was a pleasure then". Nico herself was unhappy with the album, especially with the overdubbed flutes which dominate much of the album. Despite this it features strong writing from the young Jackson Browne and is a pleasant album to dream away frosty winter mornings to.

The next album prompted by encouragement from John Cale and Jim Morrisson took a dramatically different direction.

"The Marble Index"

Released in 1968 this I would say is Nico's crowning achievement. Now writing her own songs on her harmonium - something that would become a constant for the rest of her recorded output - this album is a haunting, bleak and a times staggeringly beautiful. The lead track from this album "Frozen Warnings", Cale draws out a performance from Nico using her apparent weaknesses (tone deaf!) to its advantage and adds ambient drones around the main harmonium to good effect. Listen to this song on a snowy day on the moors, brilliant stuff!

Nico entered the 1970's on some what of a high and released a further 2 albums in that decade.

"The Desert Shore"

This is probably the coldest in feeling record released by Nico. Led by the bleak "Janitor of Lunacy" this album continues the mixture of classical and European folk styles from the last album to good effect.

"The End"

A pean to her "soul brother" Jim morrison this album has a slightly more electronic feel to it due to the synths provided by Brian Eno. The album is controversial due to the version of 'Deuscthland uber alles' which, despite its connotations was recorded as a tribute to a friend. There is an occupanying live album "June 1, 1974" in which she was backed by Kevin Ayers, John Cale and Brian Eno. Probably the weakest effort of the two seventies albums

In the early 1980's Nico recorded a further two albums ("The Drama of Exile","Camera Obscura") with her touring group "The faction". These are probably the weakest offerings in the catalogue and are mainly for hardcore fans only. In spite of this I would recommend the touching version of "My Funny Valentine" on "Camera Obscura".

Nico died of a stroke on the island of Ibiza on July 18th 1988. Nico had at the time made much headway in kicking her 15 year herion habit and it is a shame that she could not make more albums or indeed take part in the Velvets reunions in the early 90's

Overall a difficult artist, but well worth the effort.

Summary: A look at the often neglectic chantuese of the Velvet undergrounds solo career